| 1. Winner Of The Race |
| 2. Eyes Of A Hero |
| 3. Fife And Drum |
| 4. Making History |
| 5. Jack-In-The-Box |
| 6. Imaginary Life |
| 7. Touch The Sky |
| 8. Dr. Files |
| 9. Listen To Your Heart |
| 10. TV Time |
| 11. Chances You Take |
| 12. I Have A Dream |
Editorial Reviews
About the Artist
With hundreds of original song titles to her credit, Ann Hale's musical ingenuity can be heard in styles as diverse as Pop/AC, Country, Contemporary Christian, Rock, Instrumental, Positive-Message Children's, and Christmas music.
This is a decent release, and sounds great on CD.
My problem with this album is that the songs, while taken from different venues, are not mixed together to create a seamless concert feel. You get a song, then a fade out, then another fade in to the next song, which I find distracting. This is especially evident with the first two tracks, as "I'm So Anxious" fades out with a drum roll, then "Talk To Me" fades in with a starting drum roll. Thankfully this does not occur between all the tracks.
The other complaint about this CD is the removal of the stunning 7 minute version of "Stagger Lee", which I'm sure was due to CD manufacturing standards of the time (CDs made with a time greater than 74 minutes would cause many players at the time to have difficulty reading the last track. This has been corrected on newer CD players.) .Unfortunately, this title is not likely to be reissued with the complete track list from the original LP and cassette.
It appears that "Roll Out The Barrel" is missing as well.
Overall, a good release with some notable flaws.
1. I'm So Anxious - An okay version. Good, but not phenomenal.
2. Talk To Me - High energy. GREAT version of this song with opening rap by Southside. Some interesting comments by South in the middle section of this song.
3. All I Want Is Everything - An absolutely SMOKIN' version!
4. Hearts Of Stone - A truly heartfelt version. This songs was awkwardly sequenced as Southside thanks the audience and says goodnight, even though the CD continues on for another 11 songs!
5. Trapped Again - Nice energetic version. Fun.
6. Why Is Love Such A Sacrifice - Another great version. One of my favorite SSJ songs.
7. Restless Heart - This song did nothing for me.
8. Vertigo - Dedicated to Alfred Hitchcock! Sounds like he's saying "Ver-ti-joe" in the chorus! A nice version, but not significantly different than the studio version.
9. I Don't Want To Go Home - A nice version - faster paced than the studio version. Contains the classic line "Whatever happened to... your mother and I?"
10. The Fever - This version is on fire! Sultry and triumphant.
11. Sam Cook Medley - This was okay, but came off to me as just a quick run through tribute to Sam Cooke.
12. Bring It On Home - Didn't care for this one at all. Was too slow, with some dreadful background vocals. Your mileage may vary.
13. Having A Party - What would a SSJ show be without this one? I still prefer the late 70's version found on the "Having A Party" and "Live At The Bottom Line" CDs.
14. Back In The USA - This one rocks out! Interestingly, there a some (very brief) alternating dropouts on the left and right
channels around the 4:18 - 4:20 mark. I never noticed it before, but picked it up now as I was wearing headphones.
15. Having A Party, Roll Out The Barrel - The set closer. Did I miss something, or is "Roll Out The Barrel" NOT on this cd? I did not hear it during track 15.
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.
TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes
CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.
Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.
Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.
Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.
Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).
Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".
Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.
Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).
Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.
ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.
Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.
Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.
Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.
Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".
Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.
Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.
Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.
Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.
SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).
Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.
Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".
Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.
Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.
Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.
Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.
-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.
Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).
Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."
Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).
Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.
Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).
Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".
-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.
-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.
Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.
Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.
Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.
Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.
Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.
Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!
-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").
Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.
Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.
Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.
Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.
Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.
Haitink: No offense, but Theo Adam as Alberich? Come on . . .
-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.
Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.
Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.
Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.
Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.
Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).
Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.
-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.
Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.
Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.
Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.
Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!
Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.
Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.
Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.
-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.
CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.
The Box Set: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
With hundreds of original song titles to her credit, Ann Hale's musical ingenuity can be heard in styles as diverse as Pop/AC, Country, Contemporary Christian, Rock, Instrumental, Positive-Message Children's, and Christmas music.
Ann's music is marketed and distributed internationally in the television and film industry through MasterSource, DSM Producers(Warner-Chappell/WB Music) and Transition Music.
Songs from Ann's extensive catalog are being recorded and released by artists in various genres (log onto anntracks.com for more details).
Product Description
This CD contains positive-message songs with an overlying theme of "reaching for one's dream despite any obstacle". This music appeared in performances by the No Limits Theater Group, a group of hearing-impaired child actors performing under the direction of Michelle Christie. A portion of the sales of this CD will be donated to No Limits to help keep these children performing on stage and assist them in overcoming their obstacles.
Touch The Sky
Touch The Sky,Ann Hale
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Reach Up & Touch the Sky: Live
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ASIN: B000001FFF Release Date: 1990-06-22 |
Tracks:
- I'm So Anxious
- Talk To Me
- All I Want Is Everything
- Hearts Of Stone
- Trapped Again
- Why Is Love Such A Sacrafice
- Restless Heart
- Vertigo
- I Don't Want To Go Home
- The Fever
- Sam Cook Medley
- Bring It On Home
- Having A Party
- Back In The USA
- Having A Party, Roll Out The Barrel
Customer Reviews:
An awesome party!!!.......2006-03-10
Paridise it's not but may have to do!.......2005-04-19
A Great Live CD, But Is Roll Out The Barrel Missing As Well?.......2004-08-03
This is a decent release, and sounds great on CD.
My problem with this album is that the songs, while taken from different venues, are not mixed together to create a seamless concert feel. You get a song, then a fade out, then another fade in to the next song, which I find distracting. This is especially evident with the first two tracks, as "I'm So Anxious" fades out with a drum roll, then "Talk To Me" fades in with a starting drum roll. Thankfully this does not occur between all the tracks.
The other complaint about this CD is the removal of the stunning 7 minute version of "Stagger Lee", which I'm sure was due to CD manufacturing standards of the time (CDs made with a time greater than 74 minutes would cause many players at the time to have difficulty reading the last track. This has been corrected on newer CD players.) .Unfortunately, this title is not likely to be reissued with the complete track list from the original LP and cassette.
It appears that "Roll Out The Barrel" is missing as well.
Overall, a good release with some notable flaws.
1. I'm So Anxious - An okay version. Good, but not phenomenal.
2. Talk To Me - High energy. GREAT version of this song with opening rap by Southside. Some interesting comments by South in the middle section of this song.
3. All I Want Is Everything - An absolutely SMOKIN' version!
4. Hearts Of Stone - A truly heartfelt version. This songs was awkwardly sequenced as Southside thanks the audience and says goodnight, even though the CD continues on for another 11 songs!
5. Trapped Again - Nice energetic version. Fun.
6. Why Is Love Such A Sacrifice - Another great version. One of my favorite SSJ songs.
7. Restless Heart - This song did nothing for me.
8. Vertigo - Dedicated to Alfred Hitchcock! Sounds like he's saying "Ver-ti-joe" in the chorus! A nice version, but not significantly different than the studio version.
9. I Don't Want To Go Home - A nice version - faster paced than the studio version. Contains the classic line "Whatever happened to... your mother and I?"
10. The Fever - This version is on fire! Sultry and triumphant.
11. Sam Cook Medley - This was okay, but came off to me as just a quick run through tribute to Sam Cooke.
12. Bring It On Home - Didn't care for this one at all. Was too slow, with some dreadful background vocals. Your mileage may vary.
13. Having A Party - What would a SSJ show be without this one? I still prefer the late 70's version found on the "Having A Party" and "Live At The Bottom Line" CDs.
14. Back In The USA - This one rocks out! Interestingly, there a some (very brief) alternating dropouts on the left and right
channels around the 4:18 - 4:20 mark. I never noticed it before, but picked it up now as I was wearing headphones.
15. Having A Party, Roll Out The Barrel - The set closer. Did I miss something, or is "Roll Out The Barrel" NOT on this cd? I did not hear it during track 15.
Reach Up & Touch the Sky: Live [LIVE].......2004-06-20
Edited From the LP.......2003-02-17
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Electronic Works, Vol. 1: Touch - A Sky of Cloudless Sulphur/Gestures
Manufacturer: Mode ProductGroup: Music Binding: Audio CD Computer
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ASIN: B00005A8HB Release Date: 2001-04-24 |
Tracks:
- Touch: Part One
- Touch: Part Two
- A Sky Of Cloudless Sulphur: Opening
- A Sky Of Cloudless Sulphur: Dance
- Gestures 'It Begins With Colors'
Customer Reviews:
Worth adding to "Silver Apples" and "Wild Bull".......2003-05-07
Oh yes, you may also wanna get the New Albion CD, "The Key To Songs / Return." Another worthy addition of Subotnick's electronic music.
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Introduction to Canadian Music
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ASIN: B0000014C7 Release Date: 2006-03-01 |
Tracks:
- Marche Indienne - Hannaford Street Silver Band
- Fiesta: Vif Et Bien Rythme - Neil Chotem
- The Contented House - Mario Bernardi
- Carnival Overture - Kazuhiro Koizumi
- Fall Fair - Uri Mayer
- Harbours - Nimmons 'N' Nine Plus Six
- Andante Allegro - Orford Quartet
- Fast And Frenzied - Robert Aitken
- Mont-aux-Sources - Mario Bernardi
- Allegro - Robert Silverman
- Allegro Vivace - Lento - Franco Mannino
- Giocoso (With A Touch Of The Absurd) - Janina Fialkowska
- Thunder Dragon - Espirit Orchestra
- Romance For Brass Band - Steven Chenette
- Akasha (Sky) - Bramwell Tovey
- Elan - Walter Boudreau
Tracks:
- Magnus Dominus - Patrick Wedd
- Hodie, Christus Natus Est - Elmer Iseler Singers
- Feller From Fortune - Elmer Iseler
- Soleils Couchants - Patrick Wedd
- Ave, Verum Corpus - Vancouver Chamber Choir
- Notre Seigneur En Pauvre - Saint John String Quartet
- Pemoengkah - Robert Aitken
- Quarks - Judy Loman
- Toccata For Flute And Soprano - Robert Aitken
- No.2 - Valerie Tryon
- African Funeral Song - Nexus
- Chanson Du Matin - David Kent
- Six Themes-Solaires - No.1 - Piano Soleil - Richard Raymond
- Le Jeu De Telephone - Ensemble Koln
- Alma Chillin - Mark Duggan
- Dripsody - Hugh Le Caine
- Big Bang II - Marcelle Deschenes
- Nadir - Douglas Perry
Customer Reviews:
Best Comprehensive Survey of Canadian Music Available.......1999-01-19
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Touch the Sky Pt.2
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ASIN: B000E9913E Release Date: 2006-03-09 |
Tracks:
- Touch The Sky
- Jesus Walks
- Diamonds From Sierra Leone (Aol Sessions)
- Video
Album Details
The Unstoppable Kanye West Released a Fourth Single from his Multi Platinum Selling Album 'late Registration'. 'touch the Sky' features Curtis Mayfield's 'move on Up' Sampled to a Jubilant Uplifting Effect. The Spectacular Video for the Single was Shot in the Nevada Desert and Sees Kanye Dressed as 70's Stunt Man, Kanyevel. Starring Pamela Anderson and Nia Long, the Story Follows his Stunt as He Prepares to Jump the Grand Canyon! Includes a Free Ringtone.
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Wagner: The Rhinegold
English National Opera Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Wagner
| Wagner, Richard
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ASIN: B00005B550 Release Date: 2001-05-22 |
Customer Reviews:
A Rose By Any Other Name..........2007-07-02
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.
"Thus I salute the stronghold, safe from dread and dismay!.......2007-06-12
TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes
CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.
Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.
Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.
Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.
Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).
Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".
Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.
Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).
Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.
ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.
Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.
Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.
Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.
Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".
Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.
Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.
Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.
Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.
SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).
Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.
Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".
Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.
Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.
Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.
Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.
-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.
Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).
Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."
Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).
Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.
Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).
Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".
-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.
-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.
Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.
Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.
Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.
Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.
Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.
Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!
-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").
Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.
Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.
Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.
Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.
Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.
Haitink: No offense, but Theo Adam as Alberich? Come on . . .
-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.
Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.
Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.
Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.
Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.
Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).
Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.
-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.
Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.
Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.
Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.
Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!
Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.
Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.
Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.
-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.
CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.
The Box Set: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
Free at last!.......2004-09-18
I Love This Recording.......2002-04-05
What's so good about it? Three things stand out for me: First, the slow tempi that were a litle rough at first actually allow, upon repeated listenings, a new discovery and understanding of Wagner's unfathomable genius. Every nuance is slowed down just enough to be fully accessible. Second, the modern English translation really does make this a different experience...my initial mistake was thinking that English lyrics could allow me to listen to this as background music, and that's not the case. However, if one devotes the same attention to this as a German recording, the time wil be richly rewarded. Finally, the smaller orchestra creates an almost chamber music-esque setting, which compliments the music in an undefinable way. Despite being in English, this is almost more Germanic than original-language recordings.
I still probably wouldn't get this as the first foray into Wagner's RING (I still think Solti or Levine are the choices for that). But for someone who already has some familiarity with the work, this will provide a lifetime's enjoyment. Cudos to Chandos for resurrecting these recordings!
The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08
As to the experience of the drama in English, that too is remarkable, at least for someone like me whose home-tongue is English. The drama takes on an immediacy that I have never experienced before. This factor alone is why you should explore this Ring. I can't overemphasize the impact on me that this recording had on me because it was in English and because it was well-acted. Surely this is what Wagner meant, at least dramaturgically (obviously allowing that you can't actually see the action).
Overall, the singing is competent, and in some places, it's excellent. None of the cast really stands out musically. Norman Bailey's wobbly Wotan could have certainly benefitted from a deeper, richer tone. Still, and perhaps more importantly, he creates a god who is clearly unsure of where the moral highground is, even when he's standing on "an open space on a mountain summit." Everyone, for that matter, is dramatically convincing, especially Emile Belcourt (Loge) and Derek Hammond-Stroud (Alberich) and Robert Lloyd (Fasolt), all of whom, by the way, have excellent diction. And speaking of diction, I almost could have done without the libretto when the men were singing. Not so with the women, whose diction was uniformly wanting.
Goodall's pace is notoriously glacial. Still, it's interesting to hear it parsed in this way, and I never had the feeling that I was going to fall off the world. Which is to say that the tempos were deliberate, not affected. This was definitely a labor of love for RG and the English National Opera. The orchestra is a little thin sounding, and perhaps, not entirely up to the score. Occasionally a horn mis-blew and a cello creaked. This is unavoidable in live performances, I suppose. Still, there is a surprising sense of smallness to the ensemble, even though there's never a moment when the balance between singers and players is lost. As a result, the overall effect is a balance of clarity and urgency that is clearly the upside of Goodall's idiosyncratic "vision" of the score. Not a huge or "erotic" sound, but always committed, intelligent, and sometimes impassioned.
For all of its flaws, this is an astonishing and, for me, an indispensible recording because it made me listen to this opera with new ears. While it's not the most lyrically pleasing recording (Karajan) or musically authoritative (that would be Solti, IMHO), dramatically, this Rhinegold excells any recording I know of. I will definitely buy the rest of the set.
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Touch the Sky
Max Highstein Manufacturer: Serenity Records ProductGroup: Music Binding: Audio CD General
| New Age
| Styles
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Meditation
| New Age
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General
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ASIN: B000001HXQ Release Date: 1994-08-30 |
Tracks:
- Full Circle
- Wedding Dance
- Ice Melting
- Ferris Wheel
- Mars in Scorpio
- Touch the Sky
- Meanwhile, Back at the Castle
- Initiation
- Burst of Love
- Full Circle Waltz
Customer Reviews:
A surprising discovery.......2002-10-18
However, after popping it into the CD player in order to have some mindless music to read to, I was very surprised. One, he is an excellent musician and a great pianist. Two, his compositions have such soothing touches, it's fantastic. I really found myself falling into the music and being transported to different places of relaxation. The music was refreshing, relaxing, and in a word, beautiful.
Over the years, I have not tired of this CD. I listen to it often and love how it makes me feel every time. Judging from the liner notes, I think that sort of peace is what Mr. Highstein intended for the CD. I have to congratulate him on that.
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Poems for Piano
Manufacturer: Albany Records ProductGroup: Music Binding: Audio CD All Works by Bloch
| Bloch, Ernest
| ( B )
| Featured Composers, A-Z
| Classical
| Styles
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All Works by Morton Gould
| Gould, Morton
| ( G )
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| Classical
| Styles
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All Works by Persichetti
| Persichetti, Vincent
| ( P )
| Featured Composers, A-Z
| Classical
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General
| Sonatas
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| Classical
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Tone Poems
| Theatrical, Incidental & Program Music
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| Classical
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| Modern, 20th, & 21st Century
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| Classical
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Sonatas
| Forms & Genres
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General
| Symphonies
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General
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ASIN: B00000A33E Release Date: 1998-08-25 |
Tracks:
- Pieces of China: The great wall
- Pieces of China: Fable
- Pieces of China: China blue
- Pieces of China: Puppets
- Pieces of China: Slow Dance - Lotus
- Pieces of China: China chips
- Poems for Piano, Vol. 1, Op. 4: Unroll the flicker's rousing drum
- Poems for Piano, Vol. 1, Op. 4: Soft is the collied night
- Poems for Piano, Vol. 1, Op. 4: Gather for festival bright weed and purple shell
- Poems for Piano, Vol. 1, Op. 4: Wake subtler dreams, and touch me nigh to tears
- Poems for Piano, Vol. 1, Op. 4: Ravished lute, sing to her virgin ears
- Poems for Piano, Vol. 1, Op. 4: Whose thin fraud I wink at privily
- Poems for Piano, Vol. 2, Op. 5: And warms winds spilled fragrance into her solitudes
- Poems for Piano, Vol. 2, Op. 5: To whose more clear than crystal voice the frost had joined a crystal spell
- Poems for Piano, Vol. 2, Op. 5: Sleep, weary mind; dream, heart's desire
- Poems for Piano, Vol. 2, Op. 5: Dust in sunlight, and memory in corners
- Poems for Piano, Vol. 2, Op. 5: Make me drunken with deep red torrents of joy
- Poems for Piano, Vol. 3, Op 14: Rear its frondings sighing in aetherial folds
- Poems for Piano, Vol. 3, Op 14: Listen! Can you hear the antic melody of fear those two anxious feet are playing?
- Poems for Piano, Vol. 3, Op 14: Puffed out and marching upon a blue sky
- Poems for Piano, Vol. 3, Op 14: And hunged like those top jewels of the night
- Poems for Piano, Vol. 3, Op 14: Each gay dunce shall lend a hand
- Sonatina No. 1: Largo assai
- Sonatina No. 1: Allegretto
- Sonatina No. 1: Allegro vivace
- Sonatina No. 2: Andante quasi Allegretto
- Sonatina No. 2: Allegro moderato
- Poems of the Sea: Waves
- Poems of the Sea: Chanty
- Poems of the Sea: At sea
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Words Touch
Paul Avgerinos Manufacturer: Round Sky Music ProductGroup: Music Binding: Audio CD General
| New Age
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Meditation
| New Age
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Relaxation
| New Age
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General
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ASIN: B00005UKCD Release Date: 2001-11-21 |
Tracks:
- Heaven Sings
- Song Without End
- Always With You
- Words Touch
- Floating Clouds
- Weightless You Are
- Empress
- In My Heart
Album Description
Words Touch, is a subtle and delicate tapestry of gentle melodies and exquisite sound design . Featuring the soaring EWI ( Electronic Wind Instrument ) of Kevin Fortune Braheny , The masterful guitar of Brian Keane , the unique guitar work of Jeff Pearce and Cello of David Darling , Words Touch is perfect for Massage , Meditation , Relaxation and Contemplation .The album has a steady, even and deep flow , designed to nurture profound states of consciousness . It is truly good for Body , Mind and Soul .|
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Sunday in Nandua
Karen Savoca Manufacturer: Alcove ProductGroup: Music Binding: Audio CD General
| Country
| Styles
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General
| Folk
| Styles
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Traditional Folk
| Folk
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ASIN: B00008WT3Y Release Date: 2003-03-25 |
Tracks:
- Nowhere to Go
- You Just Don't Get It
- That's How I Remember
- Here They Come
- Somedays
- I Can Taste It
- Home Again
- At Your Feet
- Mail Order Bride
- In This Life
- Sunday in Nandua
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I Hear America Singing
Manufacturer: Vox (Classical) ProductGroup: Music Binding: Audio CD All Works by Schuman
| Schuman, William
| ( S )
| Featured Composers, A-Z
| Classical
| Styles
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Chamber Music
| Forms & Genres
| Modern, 20th, & 21st Century
| Historical Periods
| Classical
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| Modern, 20th, & 21st Century
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General
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| Classical
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General
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A Cappella
| Folk
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ASIN: B000001K6V Release Date: 1996-05-21 |
Tracks:
- Prelude For Voices
- Carols Of Death: The Last Invocation
- Carols Of Death: The Unknown Region
- Carols Of Death: To All, To Each
- Perceptions: Thought
- Perceptions: Beautiful Women & Old Age
- Perceptions: Each Of Us
- Perceptions: To The States
- Perceptions: A Farm Picture
- Perceptions: Whoever You Are
- Perceptions: To You
- Five Rounds On Famous Words: Health
- Thrift
- Five Rounds On Famous Words: Caution
- Five Rounds On Famous Words: Beauty
- Five Rounds On Famous Words: Haste
- Mail Order Madrigals: Attention, Ladies!
- Mail Order Madrigals: Superfluous Hair
- Mail Order Madrigals: Sweet Refreshing Sleep
- Mail Order Madrigals: Dr. Worden's Pills
- Esses: Suggestions
- Esses: Serenata
- Esses: Stillness
- Esses: Sing-A-Ling
- Orpheus With His Lute
Tracks:
- Letters From Paris: Spring
- Letters From Paris: The French Telephone
- Letters From Paris: Summer
- Letters From Paris: Colette
- Letters From Paris: a. Interlude; b. Autumn
- Letters From Paris: The Sex Of The Automobile
- Letters From Paris: Winter
- Letters From Paris: Mistenguett
- Letters From Paris: Spring Again
- In Time Of Pestilence: Adieu, Farewell Earth's Bliss
- In Time Of Pestilence: Rich Men Trust Not In Wealth
- In Time Of Pestilence: Beauty IS But A Flower
- In Time Of Pestilence: Strenth Stoops Unto The Grave
- In Time Of Pestilence: Wit With His Wantoness
- In Time Of Pestilence: Haste Therefoe Each Degree
- Give All to Love
- Missa Brevis: Kyrie
- Missa Brevis: Gloria
- Missa Brevis: Sanctus
- Missa Brevis: Benedictus; Agnus Dei
Tracks:
- A Wreath Of Blessings: A House Blessing
- A Wreath Of Blessings: Irish Blessing
- A Wreath Of Blessings: Augustine's World
- A Wreath Of Blessings: A Glasse Of Blessings
- A Wreath Of Blessings: Chester Cathedral Blessing
- Voices Of Peace: Agnus Dei
- Voices Of Peace: Prayer Of St. Francis Of Assisi
- Voices Of Peace: Pray For The Peace Of Jerusalem
- Voices Of Peace: Peace
- Voices Of Peace: Shalom! Pax Et Bonum
- The Leaden Echo And The Golden Echo
- Holy Sonnets - La Corona: La Corona
- Holy Sonnets - La Corona: Annunciation
- Holy Sonnets - La Corona: Nativitie
- Holy Sonnets - La Corona: Temple
- Holy Sonnets - La Corona: Crucifying
- Holy Sonnets - La Corona: Resurrection
- Holy Sonnets - La Corona: Ascention
- Let's Touch The Sky: Anyone Lived In A Pretty How Town
- Let's Touch The Sky: Love IS Thicker Than Forget
- Let's Touch The Sky: If Ups The Word
Christian Music:
- Trouble [CD-single] [Enhanced] [Import]
- Try This [Explicit Lyrics] [Explicit Lyrics]
- Try This [Limited Edition w/ Bonus Dvd] [Clean] [Enhanced] [Limited Edition]
- Twelve Windows
- Ultra Songs
- Un Petit Gouter-The Best of Kilopop
- Untitled [Import]
- Untitled [Import]
- We Are N Sync
- Xquisite (Import)
Christian Music
Both Sides Now [Limited Edition]
Sweelinck, Cabezon, Gabrieli and others
I Take a Lot of Pride in What I Am
Smoke Gets In Your Eyes [Import] [Limited Edition]
Tha Second Coming [Explicit Lyrics]
Stravinsky: Petrushka; Rachmaninoff: Symphonic Dances, Op. 45 [Hybrid SACD]